UnderstandingAudio.

com

The One Hack That Guarantees A Unique, Pro

Sounding Mix
by Stephen Kelly

First of all, thanks for downloading this guide!

Now, let me give you some good news. There is a way you can
easily fast-track your progress and dramatically improve your
mixes so that they stand up against the pros. Today, I’m going to
show you how.

Whether you're just starting out, or you're more experienced, I

guarantee you that after reading this guide, you’ll find that this
one hack will help you produce a unique, commercial and
professional sounding mix. Not only that… but from now on, you’ll
get your mixes completed as quickly as possible and further
develop your own mixing style, while still having fun!

So, let’s get to it…

Stephen Kelly (Founder, UnderstandingAudio.com)

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Ever ask yourself these questions?

• What is a good mix?

• How do I start my mix?
• How do I get my track to sound like (Insert Mixer Name
here)’s mixes?
• Why do my mixes sound so harsh?
• Why can’t I get my snare to sound like (Insert Track Name)?

The answer to all of those questions is not as complicated as you

might think.

If you imagine an artist with a blank canvas, they have to start

somewhere to realize a great piece of art. Their inspiration will
come from some form of reference – whether that’s another artist
they admire or something that has inspired them.

The same can be said for a photographer. They’ll ask their clients
for references of what they want the finished product to look like
so that they can get the right shots in the right environment.

If that’s the case for other artistic forms, then why isn’t it the case
for mixing? The simple answer is that it is.

The key to a unique, professional sounding mix is to

reference early and often throughout the process.

However, we often misuse reference tracks or at least don’t use

them to their full potential.

I’m going to show you how to use them effectively to help you
achieve a meteoric rise in mixing results!

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START WITH YOUR TASTE

Luckily, us mixers never start with a blank canvas. When a track
arrives for us to mix, it has been carefully (we pray!) written,
arranged, produced, performed, recorded and edited for us to
work our magic. You might have been involved in some or all of
the previous stages of creation, but now your role is that of the
mixing engineer.

As a music lover, it’s safe to assume that you listen to a lot of

music. Your taste for what you like has already been defined over
many years of listening. This is what actually separates you from
every other mixer in the world and makes you unique.

So what is a perfect mix? It’s impossible to answer that question

because it’s so subjective.

Quite simply, the perfect mix does not exist but critical acclaim
does.

Taking an example from the sporting world... It’s widely accepted

that Lionel Messi and Cristiano Ronaldo are among the best
soccer players on the planet and probably to have ever lived. But
who’s better? That question divides soccer fans the world over, but
no one has the definitive answer – because it’s entirely based on
personal opinion. The one fact that can’t be disputed is that they
are both world class at what they do.

The same parallels can be drawn in the mixing world. You might
prefer Dave Pensado to Manny Marroquin, but it’s unquestionable
that both are incredibly gifted engineers at the very top of their
game. To try and decide who’s the better mixer is impossible.
With that said, you personally might not even think that either of
their work is very good. (Pro Tip – you’d be wrong!)

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To fully explain the value of reference mixes, I need to show you

a technique I originally borrowed from Roey Izhaki and have
built on over the years.

ACTION STEP #1

• Pick 20 of your favorite tracks.

• Import them into your DAW.
• Trim random 20 second excerpts from each song.
• Arrange the excerpts one after the other on a new track
and crossfade.
• Loudness match the excerpts using clip gain and a
loudness meter.
• Listen to your set!

The most important part of this exercise is that you level match
the excerpts to each other. You can do this by ear, but there’s a
much more accurate and efficient way.

To make sure you’re hearing all the information of each track in

your set accurately and relative to each other, loudness match
them using a loudness meter and the EBU R128 loudness
standards.

Even 0.5dB of a difference in perceived loudness can influence our

decisions as to what sounds good. More often than not, our brains
perceive louder as better and this is the cause of The Loudness
Wars! So make sure your tracks are accurately matched for
loudness so that you start with an even playing field.

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REFINE YOUR REFERENCES

After you’ve listened to your reference set the whole way through,
go back and listen to it critically. I do this with a pen and paper in
hand (old school!) so that I can make notes as I go.

What’s amazing about a loudness matched reference set is that

the short excerpts do not allow your ears or brain to settle into the
potentially vast differences in style as you hear them. You’re just
focused on the sonic differences. This means you can develop
your taste even further and define exactly what you like.

This also means you’re not tied to mixing in one style or

referencing from just one style. You can and should borrow ideas
from other genres and apply them to the tracks you’re mixing.
This is a surefire way to really make your mixes sound unique and
help you stand out from the crowd.

It’s so hard to quantify your taste and make it tangible, but by

going through this exercise, you are doing just that. Rather than
having a rough idea in your head of how reverb should be applied,
you can listen to one of your references up against your own mix
to see if you’ve hit your target.

During this critical listening session, you might find that a mix you
initially thought was great does not actually compete when
played alongside other mixes in your set once they’re level
matched. If you no longer see the value in having it as part of your
set, cut it and add another mix that would be more beneficial to
your growth as a mixer.

This is also the time to outline the elements of mixes that

compliment your weak points. For example, if you know that
you’re not great at mixing rock drums, it makes sense that you
should have some exceptional examples of rock drum mixing in
your set.

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REFERENCE RECOMMENDATION (Drums)

If you’re having trouble with rock drums, it would be remiss to not
include a Chris Lord-Alge (CLA) mix in your reference set. Here are
two great examples!

1. Muse – ‘The 2nd Law: Unsustainable’ (Mix: CLA)

2. Green Day – ‘Wake Me Up When September Ends’ (Mix: CLA)

Once you’ve refined your reference set and finalized it, bounce it
as one long audio file. This file should travel with you everywhere
and as it’s your reference set, it should be played and used in
every environment. If you’re looking to mix in a new room or
have to mix on headphones in a hurry, this is the file that will
help you adjust.

ACTION STEP #2

• Bounce your reference set to a single audio file.

• Put this file and the Pro Tools session on a USB key.
• Play your set everywhere – on your studio monitors, laptop,
through your earbuds, headphones, in your car etc.
•

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GET SPECIFIC REFERENCES

At the start of each mixing project, you now know where to begin.
More importantly, you know what you’re competing against and
trying to achieve with your mixes.

However, it’s still crucially important that you don’t ruin a song
simply because you heard a delay used on a track in the charts
and you want to emulate it. What you’re doing must always serve
the song and to do that, we must stay true to the artist’s
intentions.

The best way to know what their intentions are for the final mix is
to ask them. I highly recommend you ask the artist(s) or
producer(s) you’re working with for 2-3 specific references of how
they would like their mix to sound. If they can’t think of any, share
your ideas with them and some references of what you think will
serve the mix. By doing this, they can at least tell you if you’re on
the right track and through this feedback process, they’ll probably
then be able to get more specific.

It’s worth mentioning that some people use just one reference as
a form of blueprint from writing all the way through to mastering.
I would highly advise against using this approach, as it limits
creativity and risks the track sounding exactly like the reference in
every way.

If the artist or producer comes to you with only one reference, you
can share a few others with them and see if you’re on the right
track. They’ll most likely either agree or offer some more.

The great thing is that even if they have stuck to one reference the
whole way through, you can add your unique taste to the mixing
stage with the aid of all the tracks in your reference set.

Once you’ve finalized the specific references for your track, you

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should import the full tracks into your session as well. Make sure
they are also level matched with your reference set and with each
other.

This is also another opportunity to focus on one of your weaker

areas of mixing. If you’re finding that your vocals are often too
prominent in the mix, then it might be worth defining your upper
limit of prominence and having a reference for that as well. It
might already be part of your reference set, or something you
want to add later.

REFERENCE RECOMMENDATION (Vocals)

Here’s an example of a very ‘up front’ vocal sound. It suits the song
and is mixed beautifully (pun intended), but in my opinion, if your
vocals pass this point, they’re too prominent in the mix.

Christina Aguilera – ‘Beautiful’ (Mix: Dave Pensado)

ACTION STEP #3

• Ask your client for 2-3 references for the mixing stage.
• If they can’t provide these, offer some suggestions.
• Make sure to focus on your weaker areas by referencing
strong examples of your intended results.
•

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ACHIEVE BALANCE
One of the most common questions asked about mixing is “How
do I start?” By going through the previous steps, you’re already
streets ahead of a lot of mixing engineers and progressing quickly
towards developing and refining your unique mixing style.

Now, it’s time to start moving the faders. Before you do, have one
last listen to your full reference set, the reference tracks provided
by your client and the specific track you’ve selected to help with
your weak point(s).

Once you’re happy that you have a clear idea of how you want the
mix to sound, get your fader mix done as quickly as possible. By
moving your faders and pan pots to complete your gut mix in
about 10 minutes or so, you’re taking action while all those great
ideas are still in your head and the vision for your completed mix
remains clear.

When you’re done, it’s time to compare it against your references

and adjust the balance if necessary. Again, you’ll want to make
sure your references are loudness matched to your mix, so you can
either do that by ear or more accurately with the help of a
loudness meter. The beauty of level matching all your references
together earlier means that you just need to move the fader on
your reference track to match the level of your mix.

Before you’ve even touched a plugin, you now have a balanced

mix that is intentionally designed from the outset to compete
with commercial tracks that have been mixed by engineers at the
top of their game. Not only that, but you’ve personally selected
what sounds good to you, so you’re already putting your own
unique stamp on the mix. That is what your client has hired you
for at the end of day.

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ACTION STEP #4

• Listen to all of your references from start to finish.

• Quickly complete a fader mix (10 mins.).
• Compare against your references once more.
• Adjust the balance of your mix to taste.
•

EQ BALANCE
You’re now at a point where you’ve made a lot of quick wins in
your mix and it sounds well balanced in terms of volume and
positioning in the stereo field. This is also the stage in the mix
where it can be won or lost based on what you do next.

Now is the time to start monitoring in mono so that you can look
at getting the most out of every frequency range in your mix.

While making EQ decisions, don’t be afraid to flip back and

forward between your mix and your references. Not only will this
keep you on track to getting your desired results, but it will help
you avoid ear fatigue after you’ve been mixing for a while.

It’s helpful to have a few reference tracks highlighted that you feel
contain great examples of low end, mid-range and high end.

Here are a few of mine…

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REFERENCE RECOMMENDATION (EQ – Low End)

I love how the kick and bass in both of these tracks act as a strong
foundation for the rest of the mix. All of the low end frequencies
in each song are tastefully balanced with each other.

1. Imagine Dragons – ‘Radioactive’ (Mix: Manny Marroquin)

2. John Legend – ‘Used to Love U’ (Mix: Manny Marroquin)

REFERENCE RECOMMENDATION (EQ – Mid-Range)

The mid-range is arguably the most important when it comes to
keeping the mix together. ‘Uptown Funk’ is a busy mix with lots
going on. ‘I Need You Tonight’ is a little more sparse. Both are
excellent.

1. Mark Ronson – ‘Uptown Funk’ (Mix: Serban Ghenea)

2. INXS – ‘I Need You Tonight’ (Mix: Bob Clearmountain)

REFERENCE RECOMMENDATION (EQ – High End)

Among many other highlights, these two mixes have beautifully
bright, balanced high ends and I use them all the time as a
benchmark for my mixes.

1. The Roots – ‘Sacrifice’ (Mix: Bob Horn)

2. Mel B – ‘Never Be The Same Again’ (Mix: Dave Pensado)

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The EQ stage of mixing gives you the opportunity to really “clean

up” your mix. You can remove any problem frequencies and
accentuate what’s great about the track.

While in this stage and adding further balance to your mix, it’s the
perfect time to reference against the tracks that you love and
appeal to your taste.

Another great part of referencing in this way is that you can really
focus in on any areas that you’re having difficulty with and want
to improve.

You can use a simple EQ on your stereo bus and on your reference
tracks to compare the two in that frequency range only.

So, if you’re struggling with low end, you can set a low pass filter
at 180Hz and only listen to the low end of your mix and
‘Radioactive’, for example. Comparing and referencing this way
will let you know if you’re in the right ballpark in specific ranges.

You can use the very same technique for both the mid-range and
the high end.

ACTION STEP #5

• Start monitoring in mono.

• Add EQ to any tracks that need it.
• Compare against your references.
• Compare against your references in specific frequency
bands, when needed.
•

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DYNAMIC BALANCE
Compression is something that confuses a lot of people. But if
you’ve followed all the previous steps, you’ll have a really nicely
balanced mix that will only be helped by the use of this powerful
tool.

Don’t think as much in terms of ratios, thresholds and attack and

release settings. They’re obviously important, but it’s better to
think of compression as what it really is – a tool to help achieve
dynamic balance. A compressor simply helps to control the
volume of certain elements in a mix, but it can also help to bring a
track to life.

Once you’ve compressed what’s necessary, make sure to go back

and once again check your references to see if you’re in the right
ballpark.

It might not be the concept of compression that you’re struggling

with, but applying compressors to specific elements in your mixes.
For example, if you’re struggling with drum compression, you
could check out the two CLA tracks I’ve already mentioned.

Again, flip back and forward between your mix and your reference
tracks to help narrow the gap in quality once more. You’ll hear
elements of your mix that stand out. Perhaps it’s an uneven snare
track or a synth that needs some added emphasis in the mix. You
could find that applying some tasteful compression will fix both
issues.

You might also want to tighten up your whole track and find that
it’s missing the glue that binds it. What better way to achieve that
glue than to compare your track against a reference that you feel
achieves that balance?

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REFERENCE RECOMMENDATION (Compression)

Manny Marroquin used two different stereo bus compressors for
the verse and chorus in ‘Locked Out of Heaven’! That’s a big risk,
but it’s done seamlessly to glue the track together.

‘Do I Wanna Know?’ is masterfully balanced all round, but the

dynamic balance between all the elements in the mix is
specifically tastefully done. The contrast of the guitars in the first
chorus is a particular favorite of mine.

1. Bruno Mars – Locked Out of Heaven (Mix: Manny Marroquin)

2. Arctic Monkeys – Do I Wanna Know? (Mix: Tchad Blake)

ACTION STEP #6

• Apply compression to the tracks/busses that need it.

• Compare against your references.
• Compare specific dynamic problems you heard earlier in
your mix against your references. (See a pattern yet?!)
•

So now your faders are balanced well, you’ve got the most out of
every frequency range you and your dog can hear and you’ve
balanced the dynamics. Is the mix done yet? Not far off… but as it
stands, there’s no depth to it, it’s probably not as wide as you’d
like and it doesn’t quite pop like a radio mix. Let’s fix that with…

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EFFECTIVE EFFECTS!
You could go absolutely nuts and put every effect you own as an
insert on every track you see fit at this point. You’ll either end up
with some sort of avant-garde masterpiece or the most atrocious
piece of drivel anyone’s ever heard. The smart money is on the
latter.

So resist the urge for now and let’s focus on achieving your goal of
a unique, professional sounding mix. The pros don’t go with the
approach of throwing every effect at a mix unless it’s for a very
specific use that I’ll talk about later in this guide.

Before adding width and depth, focus on the elements you think
need some emphasis with saturation and/or distortion. That’s
going to depend completely on the type of track you’re mixing
and the vibe you’re looking for. You’re not going to put heavy
distortion on an orchestral mix… unless you’ve gone for the avant-
garde masterpiece approach – if so, fair play to you!

REFERENCE RECOMMENDATION (Distortion)

‘Hysteria’ is a great all round rock mix and Rich Costey’s treatment
of the lead vocal blends it smoothly with the distorted bass and
guitar riffs. Whereas ‘Get The Party Started’ has a “megaphone”
effect throughout to “announce the party” in a big pop track.

1. Muse – ‘Hysteria’ (Mix: Rich Costey)

2. Pink – ‘Get The Party Started’ (Mix: Dave Pensado)

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Now comes the fun bit. Once you’re happy with your
distortion/saturation treatment, you can stop monitoring in mono
and bask in the glory of all your previous work in stereo.

(You were listening in mono, right?!)

When you’re as happy as our friend in the hat above, it’s time to
add some ambience to your mix with reverb and delay. That is, of
course, if it’s part of your style. In my opinion, some ambience is
always better than none at all.

Adding ambience to your mix can be as easy or as complex as

you’d like to make it. You can use multiple reverbs for various
elements or groups of elements, or you can take an entirely
minimalist approach.

The easiest method is to create one reverb aux track and send
the elements you’d like to have more depth to this track.

If you’re looking for inspiration on how to use reverb more

creatively, your references come into play once again. Listen
through your favorite mixes, highlight reverb uses that appeal to
you and then try to emulate those in your own mixes.

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REFERENCE RECOMMENDATION (Reverb)

I love the use of reverb in ’Karma Police’ because the lead vocal
remains quite dry until the 2:34 mark when multiple effects are
introduced. The reverb here creates a very haunting effect.

‘Someone Like You’ is a perfect example of placing one singer in

the same room as one instrument. Tom Elmhirst mentioned that
the only issue for him on hearing the song was the vocal reverb in
the reference mix. He definitely nailed it in the final mix!

1. Radiohead – ‘Karma Police’ (Mix: Nigel Godrich)

2. Adele – ‘Someone Like You’ (Mix: Tom Elmhirst)

Now that you’re the Yoda of reverb, you can move on to adding
delay to the mix. The order in which you add reverb or delay is
interchangeable, but when starting out, it’s preferable to start
with reverb because more people seem to struggle with it. I
usually still add reverb first and delay after, so I can hear what my
delay sounds like running into my reverb effects.

Delay goes hand in hand with reverb in giving you the front-to-
back control that a pan knob gives you from left-to-right. It can
really make your mix sound epic and give it a signature sound
when used right.

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REFERENCE RECOMMENDATION (Delay)

‘Let’s Dance’ has an iconic delay sound that Bob Clearmountain
added to Nile Rodgers’ guitar part in the mix. It helps to blend the
guitars perfectly with the vocals, synth and brass parts and it’s
badass!

Phil Tan’s mix of ‘Diamonds’ is one of my favorites for vocal delay.

Listen to the words “shooting star” and what happens at that
moment… a superb reflection of the song lyrics in the mix and a
mixing engineer staying true to the intention of the song.

1. David Bowie – ‘Let’s Dance’ (Mix: Bob Clearmountain)

2. Rihanna – ‘Diamonds’ (Mix: Phil Tan)

I already mentioned that the pan knob gives you control from left-
to-right in a mix, but you can also add greater width if you’d like.
Now is the time to add any stereo wideners or stereo imaging
plugins that you feel are needed. Using plugins like this can add a
greater sense of space to your mix and help to accentuate
different elements. They can also be used as a creative, unique
effect. If it’s helping the balance and creativity in your mix, go for
it!

As with every other technique I’ve mentioned, how you use the
methods and plugins are entirely up to you and the references
you’ve defined as exemplifying them.

When it comes to stereo width, here are a couple of my favorites…

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REFERENCE RECOMMENDATION (Stereo Width)

From the get-go, the backing vocal chant in ‘Pompeii’ is spread
wide to surround the lead vocal. Then in the chorus, the toms are
also spread out to create a super wide but up-front drum sound.

The synth that enters at 1:16 in ‘Hold My Liquor’ gets me every

time. The slow rise and the buzz combined with the stereo width
makes me feel like it’s about to jump out of my monitors!

1. Bastille – ‘Pompeii’ (Mix: Spike Stent)

2. Kanye West – ‘Hold My Liquor’ (Mix: Manny Marroquin)

All of these effects are used to create a more immersive and

polished mix. How do you know if you’ve done it right? Yep…
Check your references!

ACTION STEP #7

• Add distortion/saturation where needed.

• Monitor in stereo again and notice the difference!
• Add reverb and delay for extra depth.
• If your track calls for stereo width, add it in now.
• Compare the effects levels with those of your references
and see if you’ve done a good job!
•

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SWEET AUTOMATION
You could pretty much call it a day at this point. Or, you could
take the nicely balanced mix you have and put your signature
stamp on it by automating volume levels, panning and even the
plugins and effects.

In case you’re wondering where to get ideas for this… you guessed
it… USE YOUR REFERENCES!

This is where you can get really creative, but be careful not to go
too far and ruin all your previous work. Subtle moves create the
world of difference at this point.

Think of things you can do to open up the chorus or emphasize

certain words like the “shooting star” in ‘Diamonds’. At this stage
of the mix, you can really show off your taste and your own mixing
style.

REFERENCE RECOMMENDATION (Automation)

The chorus of ‘Viva La Vida’ is much wider and has more low and
high end than everything that comes before it. It’s subtle, but
awesome!

The first 16 seconds of ‘MANIAC’ are automated sonic madness,

but that’s the idea…

1. Coldplay – ‘Viva La Vida’ (Mix: Michael Brauer)

2. Kid Cudi – ‘MANIAC’ (Mix: Anthony Kilhoffer)

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FINISHING TOUCHES
Just when you thought you were out, I’m going to pull you back in
and start hammering on about the value of your references again.
When you’re totally happy with everything in your mix and it’s
ready to print, go back and listen to your references one last
time and see if your mix stands up against them.

If you’re happy, then congratulations. If not, fix what needs fixing!

Ok… you’re actually done.

You definitely have something unique sounding on your hands

(ears?!) now. If you think about it, you’ve probably used a few
stylistic tricks of your own on this track that you’ve developed as
your mixing career has progressed. Even if this is your first mix,
you’ll repeat some of the same things you did in this mix on your
next project.

This is a tangible, quantifiable definition of your taste and what

makes you unique. The more mixes you do, the better you’ll get
and the more unique your style will become.

I mentioned ‘I Need You Tonight’ by INXS earlier in the guide as

part of an EQ example, but that track has a very similar iconic
delay effect on the guitar to ‘Let’s Dance’ by David Bowie. Would it
be a complete shock to you to know that they’re both mixed by
Bob Clearmountain?

It might seem like overkill to keep going back and listening to

other music while you’re mixing a track, but there are many
reasons why I’m giving you this advice besides those I’ve already
outlined.

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Here are just a few extra benefits:

• You’ve personally selected these tracks to exhibit your taste

and what you love about music to others.
• The reference set can be used to give you a break from
listening to the same track for hours and keep you focused
on making great music.
• Your mixes will never fall apart again when played on
another system outside of your studio setup.
• I’ll say it again… You will mix faster.
•

The most important benefit, however, is the fact that you are
directly comparing your mix against the pros. You can hear if
there are any gaps in quality and see if you compete. If there are,
keep mixing and keep working hard!

By creating this direct comparison, you will make explosive

jumps forward in your mixing career and skip past a lot of the
questions, problems, concerns and insecurities that plague other
mixers.

While they’re 12 hours into their mix and it’s falling apart, you’ll be
long done, eating a celebratory steak (optional) and getting ready
for your next challenge.

Like I said earlier, your taste is already there and that’s what
makes you unique. It’s amazing how quickly what you expect to
hear becomes engrained in your brain. Over time, because you’ve
nailed down exactly what you feel are great mixes and great
examples of mixing techniques, you won’t need to reference as
often and know what sounds and feels right for you.

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The overwhelming benefit of going through this process is that

the more you do it, the less you actually have to reference in
future. As your experience as a mixing engineer grows, people
will want their mixes to sound like yours.

Your taste and style will also evolve over time and your reference
set should too. Even if you’re not using it as much anymore, it’s
always great to have a reference set in your back pocket for all of
the reasons I’ve outlined above. Just like updating your mixing
samples on your website, your reference set should be updated
often too.

I mentioned a lot of my own personal recommendations for my

references throughout this guide. You might completely disagree
and have your own ideas, which is great! If you do, feel free to
share them with me. Mixing is an entirely subjective art form and I
love to hear other ideas all the time.

Drop me an email or leave me a comment on my site and I’ll get

back to you.

So, there you have it…

The one hack that guarantees a unique, professional

sounding mix is to reference early and often throughout
the mixing process.

Now you just have to go and do it!

-Stephen
(Founder, UnderstandingAudio.com)

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EXTRA BONUS FREE STUFF!

So that you can listen to all of my mix references in one place and
insult me on my taste, I’ve made you a Spotify playlist of 50 songs
that I’m currently using.

They’re all included for precise purposes and are ordered

appropriately for a specific reason. If you want to know why, just
drop me an email and we can have a chat about it!

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